File consists of 19 Christmas cards dating from 1975. Many include winter scenes and traditional Christmas scenes, including the Nativity, red and green decorations, trees, and angels. Cards producers and artists include Grandma Moses, Carlton Cards, Meister Francke, St. Pantaleon Church, and Gertrud Wyss-Trachsel.

File consists of 23 Christmas cards dating from 1974. Many include winter scenes and traditional Christmas scenes, including Christmas train, toys, Christmas trees, and mothers and children. Cards producers and artists include Carlton Cards, Belvedere, Williams College, Iparművészeti Múzeum (Budapest), the Public Archives of Canada, and Hallmark.

File consists of 13 cards dating from 1973. Many include traditional winter scenes such as sledding and nature scenes.

File consists of 9 Christmas cards dating from 1972. Many include winter scenes and traditional cultural and religious Christmas scenes, including mistletoe, gifts, Santa Claus, and three Magi. Cards producers include Hallmark and Walters Gallery. One card with "American First" message, marked "Paul Revere, Patriot".

File consists of 17 Christmas cards dating from 1971. Many include winter scenes and traditional cultural and religious Christmas scenes, including Santa Claus, mothers and children, mistletoe, Christmas trees, etc. Cards producers and artists include Grandma Moses, Queens University, the Metropolitan Museum of Art, Gordon Fraser, the Canadian Save the Chidlren Fund, and Oxfam.

File consists of 17 Christmas cards dating from 1970. Many include winter scenes and traditional Christmas scenes, including Santa Claus and ice skating. One pictorial card depicts Le Cartier building. One card is a puzzle. Cards producers and artists include Helen Oxenbury, Georg Jenson, Arne Larsen, Elizabeth Falconer, National Ballet of Canada, Editions Belvedere, and the Parnassus Gallery.

Subseries consists of 175 greetings cards mostly for Christmas with some for New Years. Cards date from the 1960s. Many feature scenes of families, people, mothers, Santa Claus characters, or animals.

Subseries consists of 120 Christmas and New Years cards produced during the 1950s. Many feature scenes of people or families as well as art reproductions. A number of cards are produced by universities or cultural organizations, including the Museum of Fine Arts, Boston, the Toledo Museum of Art, Toledo, Ohio, the Metropolitan Museum of Art, Universitas Mariae Curie-Sklodowska, and the William Morris Society.

Subseries consists of 109 Christmas and New Years cards printed during the 1940s. Many feature people and family scenes. Also includes one booklet entitled "The House by the side of the Road" (Sam Walter Foss). Some cards produced by aid organizations such as American Relief for France, Fighting French Relief Committee, United Yugoslav Relief Fund, and the Greek War Relief Association.

The Valentines subseries consists of a variety of greeting card formats and styles from primarily the Victorian era but as late as the interwar period. These include a mix of cards that have been sent and kept by the receiver in addition to several cards that likely belonged to a stationer or printer. While some cards include handwritten messages, most cards are unsigned and seem to be unsold copies or samples belonging to a catalog. Sub-subseries include: comic valentines, foldout or pop-up valentines, ornate handmade valentines, printed manufactured valentines, puzzle or rebus valentines, and sentimental valentines. In addition, the subseries contains several examples of additional ephemera related to Valentine’s Day or the greeting card business, such as valentine writers or printer’s catalogs. There are is also a full scrapbook of card samples and additional scrapbook pages with affixed cards. Additionally, there are a few card making materials or scraps that highlight the various components and processes of card making. The subseries also includes some greetings cards not associated with Valentine's day, but originally found with Valentine's cards.

These materials are primarily useful in capturing the essence of Victorian sentimentality and communication culture. Spanning several decades, they represent the evolving printing culture and technology of the nineteenth century. The subseries equally illustrates the industrial age and the emerging consumerist and capitalist societies as several greeting card companies surfaced around the world to profit from the sudden craze. More subtly, the cards allow for an appreciated of craftsmanship and reflection on women’s role in manufacturing as their smaller hands were often required to do the finishing work on handmade cards.